‘Bhaktisudha’ was presented by disciples of Jyothi Mohan of Sriranjani Kala Nilayam in the two-day dance festival hosted by Fine Arts Society, Chembur. Pushpanjali in Chakravaham, a dedication to Carnatic stalwarts, which she had composed was followed by Dikshitar’s ‘Gajananayutam’ incorporating the story of Gajamukhasura.
Saraswati, Lakshmi and Parvati were depicted in a ragamalika as trishakti with a convincing commentary. The deities being carried on their respective vahanas made for a delightful spectacle.
The Varnam in ragam Amritavarshini (musical score by Jyothi Mohan; lyric by Kausalya Raghunandan,) had Pranamya depicting the butter stealing Krishna well. The other dancers, Shruti Warrier, Riddhi Chhaya, Priyadarshini, Kajolini and Lakshya were equally precise.
Jyothi Mohan’s students perform at the FAS, Chembur, Mumbai
Well-set jatis presented in diagonal and circular formations and sancharis that conveyed the story convincingly proved the guru’s training regimen. Dupattas and anga vastram distinguished the gopis from gopala. The Uttarangam brought out the adoration of gopis taking turns in describing Krishna’s adornment and their adulation for him in the Rasleela segment. Partha exhibiting his (santhapa) anguish in Kurukshetra was well-enacted by Nupur Pai.
‘Devaranama’ by Kanakadasa, opening the famous Kanakana Kindi for the ostracised bhakta to have darshan of Udupi Krishna, underlined the compassion the Lord has for his devotees such as Prahlad, Gajaraj and Draupadi. ‘Ananda Natamaduvar’ in Purvikalyani, essentially a soulful solo selection, was adapted to a group piece with scope for dramatic effect in showing Siva as a column of light and Neelankantam in the amrut manthan episode. This was preceded by slokam ‘Kripasamudram’ on Siva.
Jyothi Mohan’s students perform at the FAS, Chembur, Mumbai
A Kannada song penned by Jyothi’s brother G S Vasuki, set to music by Jyothi (Behaag- Khandachapu), began with pleasant notes on the violin. The girls showcased the flora and fauna with a message to preserve nature for posterity. A brief tillana in Khamas was followed by Purandaradasa mangalam sequencing the Dasavatara.
N.N. Sivaprasad (vocal), S. Shankaranarayanan (mridangam), Mangala Vaidyanathan (violin), Hema Balasubramaniam (flute) and Shekar (ghatam) gave their valuable support.
The repertoire stood out for its novelty with five pieces, including the varnam composed by the guru herself. Jyothi Mohan’s creativity in lyric and music composing enhanced the intelligent choreography.
Inspiring performance
Radhika Ananthakumar from FAS welcomed Prof. C.V. Chandrasekhar (CVC) on day two, in a much anticipated event that even the unseasonal threat of rain could not hamper.
For CVC, age is just a number as in body and mind he is sprightly and youthful. An inspiration for dancers of all age groups. His slim body covered the stage with perfectly executed jatis that left the audience in awe.
CVC’s ‘chakra’ began with the stotram ‘Gayiye Ganapati’ by Tulsidas. When the dancer deciphered the multi dimensions of the Lord and summoned the audience with ‘Gayiye’, the moment was intense enough to make members of the audience sing along.
The Varnam, ‘Naadanai Azhaithu Vaa’ in Khambodi, was a study in comprehensive sequence. The Nayika seated on a stool, cajoling the sakhi, plaiting her hair, giving vent to the torment of separation, juxtaposed to the stately stance of Swaminatha — it was scholarly and subtle at once.
His dexterity, versatile vocabulary and expressive eyes conveyed myriad moods that touched a chord with the audience. His arai mandi, muzhu mandi, bends, crouches and agility left the audience in wonderment.
There was no pause to catch his breath after the rigorous varnam, as he was back on stage reclining in ‘Ksheera Sagara Sayana.’ The varnam was conveyed in a picturesque way.
Ashtapadi in Yaman Kalyan was an emotive expedition. ‘Hari Palne Jhulawe’, a lullaby by Surdas, posed the question how the sightless poet visualised all this. CVC was the perfect protective mother Yashoda putting Krishna to sleep. What variations his creative mind conceived to depict swinging! Then things become quiet, with a the violin, singing and the mridangam becoming low-key. Then Yashoda wakes up with a start and continues her ditty.
The concluding Purandara Dasa mangalam ‘Indina Dinave Shubha Dinave’ echoed the audience’s view: It was truly a blessed day.
A young orchestral team, Girish Madhu (nattuvangam), Jyothi Shreejit Krishna (vocal), Ramesh Babu (mridangam) and Easwar Ramakrishnan (violin), gave its superb support that enhanced the natyam. “My musicians give me the freedom to dance my way,” said the veteran. “Dance has changed a lot these days, but there are few holding on to tradition. Solo has become almost obsolete,” he added.
Off the stage, CVC was literally mobbed, but he received them cheerfully and posed for photos with Mumbai dance gurus and blessed the dance aspirants. For the latter, he had a piece of advice — “Don’t hurry in your presentations, dance in proper speed and enjoy.”
For the audience, it was not just entertainment but an enriching experience.
